There are more than 30 of He Duolig’s paintings dated from 1992 to 1993 in this exhibition.

In 1992, the works of He Duoling started evolving to a more Chinese ink like manner.  The way he treated the spatial relationships are full of changes and the treatment colors and lines blurred.  The pictures are now more focus on spiritual aspect rather than the subject matter itself.  He applied subtraction to his well known realistic painting technique.  The method of reduction is clearly the imitation of traditional Chinese ink technique.  The artist tried to decrease the pictorial colors and reduce the oil painting characteristics to its minimum; and he would only employ contrasting color in the foreground so the pictures are simple, pure.  The artist pays close attention to the base color.  He often washes and scratches the painting surface to reduce the redundant elements.  The technique is not like the traditional oil painting which accumulates and stacks up.  This method blurs the color, lightness and saturation of the paintings.

In 1993, most of his works adopted layer technique.  They are painted on colored base canvas and quite often the elements in the works seemed incomplete; yet almost all the paintings can be further developed.  But He Duoling chooses not to finish them.  The artist are more interested in subtly blurring the process of conceiving and painting, and emphasizing the trace of different and contravene which left along the process; He Duoling is purposefully pursuing a style which blends the changes so they seemed similar. 

He Duoing is an artist who can go beyond the current trend, and engages into a more personal and more subjective creating state.  Furthermore, his creation and imagination has a substantial and lasting influence to the artist of next generation.  He Duoling’s paintings are a strange mix of both realistic and metaphorical, emotional and logical, reminiscence and longing.

From article by Ouyang Jianghe